In early 2016 I was asked by game designer, Glen Chudley, to compose a soundtrack to a computer game based on a fantasy adventure book "Slaves of the Abyss". This is one of those books where you are the hero of the story and you decide what to do next on your quest.

I couldn't get the rights to use the book's name (which may not have been a suitable album title anyway) in the album so decided on the name ABYSSIUM. Each track on this album represents a scene from the game.

the tracks were composed based on Glen's descriptions and before the game was fully developed. I liked all the themes so much that I wanted to release them .... on two albums.

ABYSSIUM Chapter I was released 10 September 2018

ABYSSIUM Chapter II was released 21 November 2018

ABYSSIUM Chapters I & II are also available on a Double CD

Glen gave me specific directions on what music he wanted in each scene in the 'quotes' below:

• ITER FORTISSIMUM (Latin for Journey of Courage) – 'Should evoke the sense of travelling on a long journey of which the destination is not known'

• TEMPLE OF FOURGA – 'Should sound stereotypically holy, but in a pretentious way. Fourga is the god of pride'

• ABANDONED VILLAGE – 'A mix of sadness, mystery and danger' [I wanted an opera singer to vocalise that sadness in the second part]

• PATH OF RIDDLES – 'Incongruous, completely juxtaposed to the mood of the rest of the game – perhaps even a bit carnival/funfair like?' [I wanted to make it fun but slow paced as riddles aren’t solved quickly!]

• MYSTERIOUS FOREST – 'As the name suggests, mysterious, though in a more positive and playful way than is typical of the rest of the game' [Glen then gave directions that there was a second forest scene which should be sadder]

• GURU REUNION [this scene was a late addition to the game where Glen wanted something peaceful but oriental]

• BESIEGED! – 'Like Kallemehr, but slightly subdued. Should also hint in some way of an impending threat' [although this track started off like Kallamehr it took on a life of its own with more than a hint of threat!]

• OPEN THE ABYSS – something a bit surreal [This is the opening title theme to the game even though it's at the end of the album. I thought it too strange to open the album and a nice way to close Chapter 1].

• CALL TO BATTLE – ‘A basic military drum beat, overlaid with other instruments to give the impression of a final showdown (actually turns out not to be, but oh well)’

• UNDERGROUND PASSAGES [Glen wanted something based on the Kallamehr theme from Chapter I but the action is happening in the sewers rather than in the City]

• HIDDEN TUNNEL – ‘Mysterious, in a slightly surreal way. It is the first time the player enters the Abyss’

• LOST IN THE ABYSS – ‘Surreal and should give the impression of an endless barren expanse’

• CASTLE OF DOOM – 'Church organ music. Should suggest the massive size of the castle. (The Castle is basically designed for use by someone 50 feet tall)’ I plan this piece to be the first ORGAN PHANTASY in a series.

• SOUL CHAMBER – [Glen wanted something dark, surreal and disturbing]

• ESCAPE FROM THE ABYSS [This is the End theme] – Something epic, suggesting exploring infinite new possibilities

• RECOLLECTION is a composition inspired by the game recalling many of the existing themes

• SONG OF THE SAVED is the only song with lyrics, sung from the point of view of those being saved. It is also deliberately an allegory to how Jesus gave His all to save us all. This song and all my music is made for God’s glory.